Traditionally, Chinese artists pride themselves on their ability to mimic the masters that came before them. But Xu introduced still life and live drawing sessions, a teaching tool that remains in most Chinese art curriculums to this day. He also popularized portraiture and Western oil paintings, even though the materials were often difficult to find in China upon his return from Europe.
Although his years as a student in Europe coincided with the rise of avant-gardism, Xu was openly opposed to paintings by Modernist artists such as Pablo Picasso and Henri Matisse, whom he denounced as formalist and proof of the decadence of Western capitalism.
In addition, China went through a series of upheavals during Xu's career, including the Japanese invasion of China and the Chinese civil war.
But in his works, landscapes and scenery are commonly seen. It's not that he was ignoring the events of the time, but he found a way to express emotion through art. The horses he painted represent the strength and vitality of the Chinese people; an eagle could represent the far-sightedness of the Chinese seeing into the future.
As a teacher, he strictly followed the instructions of the Western academies. He insisted art students study their subjects carefully in the natural world and that their lessons always start from drawing – the basis and foundation of all painting.
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